PRoMs - The Production and Reading of Music Sources

Mise-en-page in manuscripts and printed books containing polyphonic music, 1480—1530

Manuscript: London, Great Britain, British Library, MS Egerton 3051

Manuscript type: choirbook

RISM siglum: GB-Lbl Eg. 3051

DIAMM Source Key: 1904

Folio(s): All folios

Date: c. 1500

Ca. 1500 (Staehelin 1972).

Location of origin: Florence, Italy


1. The Benedictine abbey of Vallumbrosan order of Santa Trinità, Florence, 16th century?, inscribed: 'Est Monasterii sanctissime Trinitatis De Florentia anno D. MDLXXXXXXX' (sic); 2. inscribed, 16th century: 'Alberto Duro [?Albrecht Dürer] Intagliatore [engraver]' (f. 2r) (see Staehelin 1972, 64 for discussion of last inscription); 3. inscribed, 16th or 17th century: 'Di fr. salustio' (f. 1r); 4. Fausto Bandinelli, inscribed, 17th century?: 'Al mio confratello m[esser] fausto bandinelli' (f. 2r); 5. Nicola Benvenuti (b. 1783, d. 1867), composer and musician at the courts of Ferdinand III and Leopold II, inscribed: 'Di Niccola Benvenut ... ' (f. 2r); 6. Adrien Lenoir de La Fage (b. 1801, d. 1862), French composer and scholar: his sale, L. Potier, Paris, 15 December 1862, lot 1789 (see Catalogue de la bibliothèque musicale de feu J. Adrien de La Fage (Paris, 1862), 154); by the time of La Fage's ownership, some gatherings of original manuscript were already lost, and remaining folios had been separated into two sections, which were sold to different buyers at La Fage's sale; another section is now Washington, Library of Congress, MS. M2.1.M6 Case; 7. Boies Penrose II (b. 1902, d. 1976) of Philadelphia, grandson of Joseph W. Drexel, music collector: his armorial bookplate (f. i, pasted on the inside of the front cover); 8. Acquired from Penrose by the British Museum in 1931, through Quaritch, using the Bridgewater fund (£12,000 bequeathed in 1829 by Francis Henry Egerton, 8th Earl of Bridgewater (b. 1756, d. 1829).


Schofield 1931–32, 51-52; Jeppesen 1939, 81-8, passim;  Catalogue of Additions 1967, 298-299; Jeppesen 1968–70, II, xxviii, 65-67,154-157, passim; III, 163; Willetts 1970, 72; Rifkin 1971; Staehelin 1972a, 55-81; Staehelin 1977, I, xxix, 62; Census-Catalogue 1979-1988, ii, p. 88.

Basis for description: original

London, Great Britain, British Library, MS Egerton 3051, All folios

Physical description

Material: parchment (with paper)

Number of leaves: vi + 61

Format: upright

Page dimensions: 178 x 128

Quire structure: Text version

Index / Table of Contents: A list of contents by Alfred Einstein with references to Ottaviano Petrucci's editions are given on typewritten sheets of paper inserted at the beginning of the volume (ff. ii-iv).

Other devices: 1. Original(?) ink foliation, i-lxi.
2. Modern pencil foliation, 1-61

Page details (zoom):

Preparation and Copying

All folios


Disposition of Voice Parts Key

Pricking none visible
Ruled grid none visible,
Only justification lines sometimes visible. Text lines probably erased.
Ruling pattern highly regular
Staves omitted from grid never
Incomplete staves never
Medium and colour of grid Frequency Folios Note
brown ink sometimes Justification lines only. Text lines not visible.
Colour of staves Frequency Folios Note
black always
Ruling medium Frequency Folios Note
single rastrum always
Indentation for initials Frequency Folios Note
none always Single indentation of music and text over ruled stave for every voice, normally
Extra space between voice parts Frequency Folios Note
staves not ruled on grid always large space between staves 3 and 4
Space provided for separate text Frequency Folios Note
provided, in dedicated space always Text written in empty space on grid between the voice parts.
Adhoc adaptation Frequency Folios Note
notation extended into margin occasionally 21v, 57r, 58v, 59r
notation and staves extended into margin occasionally 18r, 22v, 25v, 38v, 39v, 55v

Copying of text and music

Language(s) Italian, Latin
Order of Copying music first
Presence/absence of text Voice part Frequency Folios Note
provided with single incipit all except discantus sometimes ff. 2v-3r, 21v-22r, 33v-36r, 38v-40r, 41v-42r, 52v-55r, 56v-58r
fully texted with one text discantus sometimes ff. 2v, 21v, 33v, 34v, 35v, 38v, 39v, 41v, 52v, 53v, 54v, 56v, 57v
provided with single incipit all voice parts often ff. 3v-5r, 7v-11r, 13v-17r, 19v-21r, 22v-25r, 26v-27r, 28v-29r, 30v-33r, 42v-47r, 48v-49r, 50v-52r, 55v-56r, 58v-61r
provided with single incipit all except tenor sometimes ff. 5v-6r
untexted tenor sometimes f. 5v
untexted all voice parts occasionally ff. 6v-7r, 25v-26r, 27v-28r, 29v-30r, 36v-38r, 40v-41r, 47v-48r, 49v-50r
provided with single incipit all except altus occasionally ff. 11v-13r, 17v-18r
untexted altus occasionally ff. 12r, 13r, 18r, 19r
provided with single incipit all except altus and bassus rarely ff. 18v-19r
untexted bassus occasionally f. 19r
Colour(s) of notation black
Type(s) of notation void mensural
Type of notation note rhomboid shaped notation
Monophonic notation absent
Level of calligraphy high
Non verbal performance instructions Folios Note
repeat signs 3v-4r, 21v-22r, 23v-24r, 25v-26r, 27v-28r, 30v-40r, 41v-42r, 43v-45r, 47v-48r, 50v-51r, 53v-59r,
Types of script cursive (humanistic)
Level of calligraphy high
Colour(s) of text red blue grey
Underlaid text written in grey (diluted black) ink with voice names in red (tenor) and blue (altus and bassus).
Multiple texts no
Text repetitions none
Abbreviations none
Non underlaid vocal text additional
3v-22r, 33v-42r, 52v-53v, 54v-55r, 56v-57v
Liminary text Trimmed attribution (f. 20r),
Later changes Added text: ff. 8v, 16r, 22r, 34r, 36r (underlaid text) and 60v (additional stanza). ,
8v, 16r, 22r, 34r, 36r, 60v


Level of Decoration n/a